Full Review: SEARCHING FOR INGMAR BERGMAN (Germany/France 2018) ****

Searching for Ingmar Bergman Poster
Trailer

Internationally renowned director Margarethe von Trotta takes a closer look at Bergman’s life and work and explores his film legacy with Bergman’s closest collaborators, both in front and … See full summary »

Writers:

Margarethe von Trotta (concept), Felix Moeller (concept)

German director Margarethe von Trotta pays tribute to Swedish director Ingmar Bergman

in honour of the centennial of his birth. Von Trotta presents a detailed account of his life and his impact on filmmaking through excerpts of his work and interviews with family and contemporaries (Olivier Assayas, Mia Hansen-Love, Ruben Ostlund).  

Her film begins with a segment of THE SEVENTH SEAL with actor Max Von Sydow and explanation of each shot in detail.  Von Sydow is seen waking up on a beach with his squire by his side.  He is seeing washing his face before meeting the Grim Reaper.  There is a fadeout of a chess board with the pieces washed away by the sea.  Each shot is explain by the voiceover, thus allowing the audience to see a different interpretation of the details as well as the mastery of Bergman’s work.

There is a compilation of Bergman’s other films including his more famous ones like WILD STRAWBERRIES, CRIES AND WHISPERS, HOUR OF THE WOLF and his later works like my personal favourite, the over 3-hour long FANNY AND ALEXANDER.

These and many other films are also displayed and put into perspective by actresses who have worked on many of Bergman’s films like Liv Ulmann who speak fondly of the man.  His thoughts and inability to love his own children are also revealed.  FANNY AND ALEXANDER however showed his brilliant portrayal of children.  Von Trotta maintains that all the children portrayed in his films are images of himself.  

The film briefly traces his personal life living in Stockholm as a child.  Nothing is said of his birthplace, the religious town of Uppsala, which I visited when I was in Sweden, being an ardent Bergman fan.

The film has limited footage of Bergman in interviews and on the set.  But these are rare footages prized in the documentary. 

The film is a bit long because it includes quite a few clips from the past Bergman classics.  But thy are an absolute pleasure to watch, so who is one to complain?  The most famous scene of all the Bergman’s films (the one where the elderly man looks into a coffin to see himself in it) is of course, in it.  I am surprised there was no shot of the image with the clock which has no hands.

The film whets the appetite for watching Bergman films, a retrospective of the Master’s work that will be presented by TIFF Cinematheque the fall of 2018.  Extremely insightful and a treasure for cineastes!  Von Trotta’s own film THE GERMAN SISTERS was selected by Bergman as one of his favourite films.

SEARCHING FOR INGMAR BERGMAN is a doc to be seen by all those who not only love the Master but for all those who love the medium of film.  (Bergman was the first auteur that introduced me to non-commercial film in Singapore, his films provided courtesy by the Swedish Institute in Singapore).

Trailer: https://www.youtube.com/watch?v=E91QEXSJ1Es

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Interview with Festival Director Joshua Trigg (THUNDERDANCE Film Festival)

Thunderdance film festival is a bi-annual event set in the heart of Hackney. TFF focuses on independent fiction, fashion, music and experimental films. Winning films will be screened in local cinemas followed by meet and greets and afterparties. Thunderdance is a festival for the ultimate in new wave London film culture.

https://www.thunderdancefilmfestival.com/

1) What is your Film Festival succeeding at doing for filmmakers? 

Thunderdance is a film festival that creates a platform for independent film makers to submit an array of different types of work from fashion, fiction to music videos and experimental films. Something we wanted to bring to the table was a diverse judging panel. From cultural influencers like Sue Tilly, to Colin Salmon (James Bond) judging certain categories. We always want to have exciting and recognisable names for the film makers to feel eager about. So not just limiting judges to those within our own industry, but broadening the spectrum of people who are involved. We want to make sure we are connecting amazing film makers with amazing people from all corners of the industry at the event.

2) What would you expect to experience if you attend the festival this year (2017)? 

Sadly, the tickets are all sold out this time around! However, you can expect a varied arrangement of screening material. A diverse set of films from all over the globe. Something that is integral to what we want to do with this festival is to support independent cinema. We hope to always have the events in small, art house, boutique cinemas. This year starting around the East London area, broadening this in the next few years. Our first screening for the festival will be taking place at the Castle Cinema, which has an amazing history and been re opened via a kickstater programme. This is a really beautiful, almost 20’s style bar cinema. Here we will be screening and holding the afterparty which gives the film makers the best opportunities to network.

3) What are the qualifications for the selected films? 

Really there are no qualifications needed. Just good film making. There are a bunch of categories, and we want all film makers to be able to submit their work. In the future we would like to be able to expand this to a student category to help support getting people into the industry. To be honest, we are just curious about the artistic voice of the individuals.

 
4) Do you think that some films really don’t get a fair shake from film festivals? And if so, why? 

No I don’t think films get a fair shake from festivals all the time. For us the most important thing is that if it’s a good film we’re going to champion it. Doesn’t matter where its from, who’s made it. If it’s great it’s great and we want to show it. In the future we would love to get good, interesting, important professionals from the industry to give critical feedback if film makers desired when submitting their film. This could at least give the film maker the opportunity to understand why they may not have been selected. We want to help film makers not discourage them.

5) What motivates you and your team to do this festival? 

We are genuinely excited to create something new, fresh and different from anything else we have seen in the circuit. Being a director myself, it’s a similar feeling when I feel I’ve nailed it with a script and we start moving into production. It’s that excitement of knowing you are about to make something really cool and that pre-anticipation is how we feel about this project. It’s that feeling of creating something. I know film makers can relate to that. Within that excitement, we are driven to connect film makers and support artistic communities.

6) How has your FilmFreeway submission process been? 

Film freeway has always been a very useful tool for submitters as it is simple and easy to use, there was a gap in the market and they filled it. Kudos to Film Freeway.
 
7) Where do you see the festival by 2020? 

By 2020, we’d like to have moved from cities further then Europe. But we want to take our time, as its important to us that we find cultural and artistic hubs where local curators can bring to the table the same sort of elements that make Thunderdance London different and exciting.
 

 

thunderdance film festival

Interview with Festival Director Gabriel Muelle (Bogotá Music Video Festival)

 

ENG: The purpose of the Bogotá Music Video Festival is to celebrate the art of music videos, the joy of music and the passion for filmmaking. We bring the music video art to different screens around Bogotá and top that with live music, exhibitions and academic and industry events.

Contact

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Gabriel Muelle: We’re creating a new space for creators and filmmakers to show their work, see what is happening in the city, the country and the rest of the world and to network. In recent years the production of films and videos has increased drastically, but it’s easy to find that your work gets lost on the immensity of the internet and the exhibition circuits. We curate our selection very carefully trying to find what’s good and relevant, besides things like it’s popularity or present reach.

What would you expect to experience if you attend the festival this year (2017)?

Awesome new music from all over the world and from every style, amazing innovative music videos, mind-blowing films, picnics, parties, great bands live and many creative people like filmmakers, musicians, photographers and designers hanging out and having a good time!

What are the qualifications for the selected films?

We like to have a broad and diverse selection, so we can have a big budget production next to a small hand drawn intimate animation. The important thing for us is that every film in the selection tells something to the viewer, connects with spectators in a meaningful way via strong images, breathtaking rhythm, surprising narration or just a good concept and a creative integration with the music.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

I do believe some jewels can remain undiscovered for a long time. There’s just so many films being produced and distributed right now that is hard to find the right place for your movie and even for programmers it’s hard to find space in a festival or screening for all the good movies that get submitted.

What motivates you and your team to do this festival?

We really enjoy sharing good work. When we find a movie we like we want everyone else to go see it and enjoy it as much as we do. That and having the opportunity to connect people and generate new creative relationships and possible collaborations is all the incentive we need to do our festival.

How has your FilmFreeway submission process been?

We are very happy with FilmFreeway, it’s a great platform. It gives good exposure to festivals and is very easy an reliable to use both for festivals and filmmakers sending their projects. It makes possible for us to reach people from far away places and cultures, find some common ground and find great work from all over the world for us to share in our festival.

Where do you see the festival by 2020?

Every edition of the festival gives us many opportunities to learn and grow, to find our public and meet new people making exciting work and to create new experiences for everyone involved and find new ways to show good films. So, by 2020, we see the festival as an important meeting point in the creative, film and music ecosystems in our country and the latin-american region where people like to come and participate because they already know is gonna be a good time and it’s going to have a very positive impact on their careers.

What film have you seen the most times in your life?

The music video I’ve seen the most in my life is probably Come to daddy by Aphex Twin, directed by Chris Cunningham. I was obsessed with it growing up and had recorded it in a vhs tape from the tv so I could re-watch it every time I wanted. It opened my mind to new images, new possibilities, new works and sounds.

In one sentence, what makes a great film?

The ability to find a way to move the insides of its audience by any means necessary but in a way that happens to be the only possible way for itself.

How is the film scene in your city?

It’s amazing! We are producing exciting films, we have amazing festivals and a big number of young persistent people doing their best to make movies and show them to every one who wants to see.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Festival Director Matt Croyle (Oil Valley Film Festival)

At the Oil Valley Film Festival, their mission is to bring the voices and films of new and established filmmakers to the heart of Venango County, an area underrepresented in the world of film. Located in Oil City, Pennsylvania, and nestled in the foothills of the Appalachian mountains, attending the Oil Valley Film Festival will grant you the experience of watching engaging cinema within an intimate community with a rich history.

http://oilvalleyfilmfestival.weebly.com/
 
Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

A: Well, we’re only a year in. This year is year two, but I think we’re heading down such a great future track as far as what we’re capable of providing for filmmakers. The “in competition” selections not only get the notoriety of being selected as just that, but each selection is in competition in every award category. Every screenwriting entrant receives an updated copy of the Hollywood Screenwriting Directory, and that’s just for submitting. We’re partnered with the Writers Store for the second year, and the directory is the premiere resource for screenwriters everywhere. It includes industry contacts, writing tips and advice, and is just a priceless addition to a career as a screenwriter.

Outside of those immediate benefits, filmmakers from all over the globe are able to get their films in front of a rural audience. I think it’s imperative that rural audiences get to connect with filmmakers they may not know, filmmakers outside of what flicks are being shown in their local multiplex. We offer that opportunity not only for a rural audience, but the filmmakers too.

MT: What would you expect to experience if you attend the festival this year (2017)?

A: Attending the Oil Valley Film Festival this year will, again, be an intimate gathering of filmmakers, audience members, and the festival staff. We’re in the process of adding panel events this year, which can give audience members an opportunity to learn about the different aspects of creating and marketing movies, but it gives filmmakers and writers the chance to network, and talk about their projects and experiences in doing so. If you want to get away from the city, spend a few days in the beauty of rural Pennsylvania, and enjoy quality cinema from around the globe, then our festival is for you.

MT: What are the qualifications for the selected films?

A: The films selected to screen at our festival go through a vetting process which includes our festival judiciary committee, which consists of filmmakers, producers, and cinema enthusiasts. It’s a select group, and they know their stuff. Each committee member is assigned with specific categories, with the final decision coming down to myself as director of the festival. We’re looking for amazing storytelling and production value, even if you don’t have the budget for the latter. Effort is imperative. Our selected films, while varying in many aspects, all find a distinct way to connect to our audiences on a personal level – as I feel quality cinema should. All selected films must not have been released theatrically or online. Premiere status isn’t a factor.

MT: Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

A: I do think some films don’t get a fair shake. A lot of the established festivals, while they are amazing events and great opportunities for filmmakers, seem extremely selective anymore in order to ensure audiences show up, in order to sell tickets / passes. While some unknown filmmaker – with an amazing first feature – may be on the fence, pitted against a name filmmaker with a so-so flick, an established festival may go the route of the latter for the fact that they know more people will attend the established filmmaker’s screening, even if that film isn’t as good. But, then again, “good” is subjective. We have to remember that movies, like anything else, are a business, and that’s especially true on the festival end of the industry.

MT: What motivates you and your team to do this festival?

A: I think the thing that motivates us more than anything is our love of movies. It’s really that simple. Growing up I always got excited when I saw a new film that spoke to me, and I couldn’t wait to run and tell my friends about it, set them down and watch it with them, watch their reactions. This festival is almost an extension of that same excitement. But now, as an adult, I have a larger venue in which to share that excitement with more people than just my friends. It’s finding a way to connect a lot of people with movies that mean something.

MT: How has your FilmFreeway submission process been?

A: I cannot say enough great things about FilmFreeway. Their service is absolutely integral to our submission process. It’s organizationally comprehensive, yet simple enough for your entire team to use. Their online marketing options are worth the time, and they’re fairly priced. We’ve already received half of our total submissions from last year by this year’s early bird deadline.

MT: Where do you see the festival by 2020?

A: Well, 2020 will be our fifth year. By then I would love for us to be an Academy-Award qualifying event for short films. That seems quite doable at this juncture, by the way we’re steadily growing. It’s not out of reach. And, by our fifth year, I hope that we can establish ourselves as a premiere event in Pennsylvania. There’s a lot of love for the process of filmmaking here, and a great reception for quality cinema from the people in the area.

MT: What film have you seen the most times in your life?

A: Wow. That’s a tough question. I’m not exactly sure which film I’ve seen the most, but I will say that I can probably recite every line from both Peter Jackson’s ‘The Fellowship of the Ring’ and Kevin Smith’s ‘Clerks II.’

MT: In one sentence, what makes a great film?

A: How about one word? “Connection.” Everyone has a favorite film. If you connect to it, it’s “great” to you.

MT: How is the film scene in your city?

A: Oil City, Pennsylvania isn’t the hub of film in the area, but we’re looking to make our mark with what we do at the Oil Valley Film Festival. It’s nice for film lovers here for the fact that we’re about halfway between Pittsburgh and Erie, and we’re looking to bridge that gap not only with the film festival, but by making our own films here – promoting the area for other productions is another thing we’re striving to do. We’re a Rust Belt city, but that doesn’t mean there isn’t a love and need for culture and art here. We’re adding to that need, helping it to grow.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Xavi Herrero (IBIZACINEFEST)

IBIZACINEFEST is facing its second edition in 2017 with the organization of UTOPIKFILMS and the collaboration of the Ibiza Town Council, Gobern Balear and the Film Commission of Balearic Islands. Among those selected will be nominated FINALISTS that will participate in the Festival and will be screened in our Auditorium and will opt for the IBIZACINEFEST grand prize.

http://www.ibizacinefest.com/

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

A: I’m surprised at the success of IBIZACINEFEST in its first year.
This success began when many registrations came to us and above all of great quality.

The name of Ibiza is a good brand and a place known worldwide, this has helped us.

I am also a filmmaker, in 2016 I have directed 2 short films that I personally distribute and I am about to release my first feature film in April.

I believe that being in the two sides I have been able to create a festival to taste mainly of the Director.

Our format is not typical at festivals. We make a first selection of shortfilms and have their space on our website, with their poster and corresponding links. This helps to access the Festival to many works and to promote them. Of these pre-selected, we chose 44 shorts for the projections.

Another novelty is to communicate in less than 30 days if your shortfilm has been selected. This speed is very much liked by the Director of a short film. It has also been definitive the support of the Ibiza Town Hall to cede to IBIZACINEFEST the Auditorium of Can Ventosa. It has capacity for 400 people and a great quality of projection.

We invited the Festival to 5 Directors and a Director of Photography and they loved the Auditorium.

Our budget allowed us to pay for the trip and a 4 star Hotel thanks to the collaboration of the Department of Culture and the Film CommissioN of the Balearic Islands.

We also have a multicultural space, bar and restaurant for the attention to the press, some projections and conferences.

All this and with the full support of the media and press of Ibiza, we have achieved that the Festival is a cultural event of reference in Ibiza.

But most of all, the filmmaker, Lionel Auguste, actor and French director, who won with his short film “El Mecenas”, asked me during the festival to be part of the Jury, is the best prize for me and
the Festival.

MT: What would you expect to experience if you attend the festival this year (2017)?

Our second edition will have much more budget, thanks to the support of the Balearic government. We will have another projection room for parallel activities. We plan to screen 50 shortfilms in competition and the Festival will last 6 days. We will have a section on feautures and shorts or created in Ibiza, activities for children, conferences, etc …

MT: What are the qualifications for the selected films?

We have a jury that covers all the cinematographic aspects.

I come from the direction of photography and I look a lot in this aspect, but in the Jury there are two actors, producers, screenwriters and directors of film and experimental cinema.

We also value the originality of the work and shortfilms made with little budget but high quality.

I believe that the three winners of our first edition represent very clearly the spirit of IBIZACINEFEST.

MT: Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

There are many Festivals in the world. I would recommend to the Directors that they distrust the on-line Festivals without projections and without the assistance of at least the winners to the event.

If the Festival charges fees it is obliged to give cash prizes.
The collaboration of public institutions also gives confidence to the Festival.

Personally I came across a Festival that rewarded a shortfilm of mine …. but you had to buy the trophy that was worth 70 eu ….. I do not think it serious.

MT: What motivates you and your team to do this festival?

The Festival is my initiative. From time to time I was thinking about this possibility.

In 2015 I left my professional activity as director of photography in Barcelona and I settled to live in Ibiza. In Ibiza I produced 2 shortfilms and seeing the good reception of the island, I thought about organizing an International Short Film Festival.

MT: How has your FilmFreeway submission process been?

Filmfreeway is my favorite platform for several reasons, it is very complete at the editing level and offers many possibilities to promote a Festival, in a clear and semzilla way. It was the platform that gave us more inscriptions, I can only be grateful to Filmfreeway, all are facilities and no problem.

I can tell an anecdote with them. We can all make mistakes, we are human, but even one mistake with us was good and fun. They put us as an Oscar-nominated Festival for a week, participants told me if this was true and I telephoned filmfreeway and fixed the misunderstanding.

We laughed a few minutes with this.

MT: Where do you see the festival by 2020?

Simply,celebrating the 4th edition with the same illusion as the first.

MT: What film have you seen the most times in your life?

My first movie, I’m finishing now … jajjja.

Seriously, maybe Mulholland Drive by David Lynch or Europe by Lars V.Trier.

MT: In one sentence, what makes a great film?

A good script well photographed.

MT: How is the film scene in your city?

Ibiza is a small island well known for its party, beaches and discos. It really is a place where tourism affects a lot and alters the lives of its inhabitants.

During the winter months, Ibiza is another island, a quiet place where many artists and culture-related people still live. It is a few months where it is easy to see 2 or 3 sessions of films and independent and interesting short films every week.

There is a lot of activity and many projects are supported by institutions.

I invite you to visit Ibiza in winter.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Janet Rose (EQUUS International Film Festival)

 From the heart of the American West, in the cradle of the Northern Rockies, the EQUUS INTERNATIONAL Film Festival fills a niche in international film and media programming with an exclusive focus on the world of EQUUS, and all things equine. It was the first all-equine film event, launching in 2011 with a global view of the equine arena. An outreach project of an equine rescue and adoption organization, our mission is to enhance the equine/human bond and improve the welfare of the horse and other equines through excellence in film, television and other media.

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

A: It is our greatest hope that the EQUUS INTERNATIONAL Film Festival is giving a voice and a platform to filmmakers for whom equine issues is their focus. For many years, there have been magnificent and important films made about equine topics and issues but there hasn’t been a platform in which to share these incredible stories. Through EIFF, we now hope there is.

MT: What would you expect to experience if you attend the festival this year (2017)?

A: Attending the festival this year is an opportunity to both tell your story in a receptive environment, in a place where film and horses go hand in hand because Missoula is becoming a very significant place for film, filmmakers and film festivals. It’s also a breathtaking environment. So we expect great networking opportunities, great exposure for the films and a magnificent place to experience.

MT: What are the qualifications for the selected films?

A: As it should be with all films, excellent story-telling, great cinematography, an inspiring, interesting or significant subject. But the centerpiece of selected films is that they tell a great story on an equine issue or subject.

MT: Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

A: Absolutely yes. Sometimes the judging criteria are skewed. Sometimes there are just too many good films entered into a festival for all of them to get the best judgment on their entry into the festival. In, other words, sometimes there is simply so much competition, such as with film festivals that have hundreds or thousands of entries, it’s almost impossible to pick out all of the good ones.

MT: What motivates you and your team to do this festival?

A: That’s a really easy question — a passion for the subject matter (equine) and a realization and knowledge that a film festival and the films are incredible tools for raising awareness and promoting an understanding of issues. This is a venue where we can engage, inspire, educate and at the same time provide a platform for filmmakers to share the essence and the “heart” of what they do. That certainly is our goal.

MT: How has your FilmFreeway submission process been?

A: It’s been great – it’s a very easy, affordable way to both receive and review film entries. I think the more we can promote FilmFreeway as a means for filmmakers to get their films entered, it will be a wonderful outlet for film entries. We also love the simplicity and ease of use.

MT: Where do you see the festival by 2020?

A: We hope that the EQUUS INTERNATIONAL Film Festival will continue to grow and become a louder and a stronger voice for films on equine issues. We hope to elevate and enhance its impact as a place for filmmakers whose genre is pretty subject specific to network with a wide range of others in the equine arena with a shared interest. We expect and hope to see an expansion of its impact and its outreach and certainly to build the audience that becomes a more global, international as well as national one. This is currently the premier venue for equine film but we would still like to expand our awards recognition, the festival’s benefits to filmmakers and the global reach of EIFF for the sake of filmmakers, equine advocates and many others concerned with or passionate about equine welfare.

MT: What film have you seen the most times in your life?

A: Oh, that’s a tough one since I don’t generally like to see a film many times over but because it’s a holiday tradition in our home, probably Gremlins. LOL, no horses in that one but it’s still in my mind, about animal welfare. J

MT: In one sentence, what makes a great film?

A: It’s a film that rocks your world, touches you to the core, moves you, inspires you, makes you come away just saying “wow.”

MT: How is the film scene in your city?

A: The film scene in Missoula, Montana is thriving — part of it is probably the incredible setting of the Northern Rockies, some of it is simply that a number of major film festivals had their birth in Missoula, and it’s a creative environment with great subject matter so Missoula is definitely a film capital of the west – casual sophistication mixed with incredible creative inspiration and a backdrop like few others.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Producer Tiha Modrić (History Film Festival)

History Film Festival is an international festival of historical documentary films. The first edition of the Festival will be held in Rijeka, Croatia from September 6 to 9, 2017. History Film Festival is founded and organized by Istra Film, an art association from Rijeka (Croatia). History Film Festival aims at offering viewers and film experts an insight into contemporary film and TV production of historical documentary films, at the same time providing a place where film professionals can meet and share their creative ideas for future projects.

http://www.historyfilmfestival.com/

 
Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Tiha Modrić: History Film Festival aims at offering viewers and film experts an insight into contemporary film and TV production of historical documentary films, at the same time providing a place where film professionals can meet and share their creative ideas for future projects. Since our submitters come from either independent production companies or TV companies, History Film Festival grants filmmakers an opportunity to present their work and establish new business relations.

MT: What would you expect to experience if you attend the festival this year (2017)?

TM: I am not a person who likes making plans ahead, but I am definitely planning on attending History Film Festival from September 6 to 9, 2017. I hope to meet filmmakers from all over the world, watch great movies, make new friends and contacts which would be important for some future projects. Also, since we are planning to take our guests on a tour around Kvarner Bay (in the Adriatic Sea), present them with the best of our food, wine and culture, I hope that we shall have fun and enjoy History Film Festival’s first edition as much as possible.

MT: What are the qualifications for the selected films?

TM: We accept historical documentaries regardless of their length and year of production. Films are divided in two categories: films by independent production companies and films produced by TV companies. By historical documentary I don’t mean only typical documantaries on World Wars and famous battles, but also documentaries which deal with events, ideas and people who shaped our world and left an indelible mark in human history.

MT: Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

TM: I think that most filmmakers agree with that thesis. In my opinion, the main problem with festivals is always the problem of taste. Also, I think that some wonderful films are left unattended because of shy promotion, insufficient budget and the endless lobby game.

MT: What motivates you and your team to do this festival?

TM: Well, there are countless film festivals around the globe, but neither one of them deals exclusively with historical documentaries. For that reason our festival is really unique.

Since this is the first edition of History Film Festival, our team is doing a wonderful job trying to organize the best possible Festival with available funds and in the years to come maybe ours will be one of those big name festivals. We believe it will be successful.

MT: How has your FilmFreeway submission process been?

TM: From a perspective of a film producer who submitts films to many different festivals, I think that FilmFreeway is a great tool. It is simple, fun and because of it submitting films has never been easier. Regarding our Festival, filmmakers can still submit their films to History Film Festival through FilmFreeway because the official deadline for submissions to our Festival has just started. We are excited about new submissions.

MT: Where do you see the festival by 2020?

TM: 2020 is an important year for the city of Rijeka where History Film Festival will take place because Rijeka has been declared European Capital of Culture for the year 2020. By that time I hope that our Festival will become acknowledged around the world, that it will establish a strong institutional and financial backup and most importantly that it will attract more and more filmmakers and viewers. If it becomes famous maybe we won’t need to charge submission fees anymore 

MT: What film have you seen the most times in your life?

TM: There are three films which I have seen a zillion times: Godfather, Big Wednesday and The Warriors. And I hope to watch them another zillion times.

MT: In one sentence, what makes a great film?

TM: Good story, unconventional creative solutions and a crew of enthusiasts who love doing what they do.

MT: How is the film scene in your city?

TM: Although Rijeka is a small city it has an interesting film scene. As there are many film enthusiasts in our city, I think there would be more films produced here if they had more funds and most importantly if those funds are fairly and evenly shared.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.